GAI HONEK ANIMAZIO TEKNIKAK IKASI ETA HAIEN BITARTEZ LAN BISUALAK SORTZEA DU HELBURU



Oraindik ere COVID19arekiko neurriak mantendu behar baditugu 21-22 isasturtean, GURE ESKOLAK PRESENTZIALAK IZANGO BADIRA ERE, baliteke taldea 2tan banatu behar izatea eta aldamenean dagoen OAC20 gelan ikasleen erdia egotea ere, non kamera baten bitartez irakasleak egindako guztia ikusiko den. Ariketak egin bitartean, bestalde, irakaslea gela batetik bestera joango da ikasleei laguntzera.



DESKRIBAPEN ETA XEDEAK:

Gure helburua irudi mugikorraren nondik norakoak ikastea da, bere errepresentazioa ANIMAZIO TEKNIKA ANITZEKIN lortu ahal izateko, artegintzako testuinguruaren barruan hausnarketa sortzailea eginez eta jakina, gaur egungo euskarri digitalen abantailak aprobetxatuta.

Fotograma bera unitate oinarrizko gisa erabilita, narratibotasunetik abstrakzioraino doa gure esparrua, honen barruan atal egokiena ANIMAZIO ESPERIMENTALA izanik.



COVID 19

If we still had to maintain the precautions for COVID19 during the 21-22 year, ALTHOUGH OUR CLASSES WILL BE PRESENTIAL, we may have to divide the group into 2 and use the next door room OAC20 for half of the students, where thay willl be able to follow the class through a screen. During the exercises, the teacher will move from one classroom to the other to help the students.



DESCRIPTION:



This class aims to learn animation techniques and create visual works through them.



Our objective is to learn the details of the moving image in order to its representation with multiple animation techniques, making a creative reflection within the artistic context and, of course, taking advantage of the current digital media.

Using the frame as a basic unit, our range goes from narrativity to abstraction, and where experimental animation is specially important.

KONPETENTZIAK:

G1.Artegintza jakintza tekniko bezala ezagutzea

G5.Ikertze eta galdetze errekurtsoak erabiltzen jakitea, eta baita metodologia kreatibo zein zientifikoak, erabakiorra dela erakutsiz bakarka zein mtaldeka.



G7.Artearen Historia, teoria eta oinarrizko nozioak ezagutzea, eta artisten pentsamentua haien testu zein lanen bitartez.



G12.Informatikaren baliabide eta lanabesak ezagutu eta erabiltzen jakitea, bai arte sorkuntzan zein ekoizpen zein zabaltze lanetan ere bai.



G3. Materialak, prozedurak eta teknologiak erabili ahal izatea, prozesu ezberdinetan eta artegintzaren lan eremuetan trebea izatea.



G4.Projektu artistiko planteatu eta bideratu ahal izatea.



G6. Artegintzaren eremu anitzetatik hartutako arauak maneiatzen jakitea, batez ere errepresentazio eta configurazioari dagokienean.





DESCRIPTION AND GOALS:

Beginning with the knowledge of several different animation techniques, most of them graphic ones, we will analyze the parameters of movement perception, and going through a creative relexion of its use in art, and materilizing them in digital works.



Our basic frame is the EXPERIMENTAL ANIMATION, usin the frame as a unit and going from the extreme abstract animation to the most descriptive and narrative one.



COMPETENCES:

G1.Recognizing knowledge of art as a technical knowledge

G5. Use resources of inquiry and critical questioning and creative and / or scientific methodologies, showing to have initiative and capacity in decision making, both individually and collectively.

G7 Know the history, theories and significant notions of Art, as well as the thinking of artists through their works and texts.

G12. Be able to use computer tools for the creation, production and dissemination of artistic work.

G3. Be able to use materials, procedures, technologies and in general resources associated with different ways of doing in areas of artistic work to resolve issues of identity and place related to Art

G4. Integrate knowledge and skills to plan and develop artistic projects.

G6. Handle different issues from artistic disciplines that affect configuration and representation procedures.

EGITARAUA



1.-Aurkezpena, materialak, ebaluaketa.

Mugimenduaren nondik norakoak

Mugimenduaren pertzepzioa

Lehen ariketa analitikoa: jausten den orria

Bigarren ariketa analitikoa: pilota



2.-Erritmoaren kontzeptua

Kadentzia, armonia.(teoria)

Animazioaren aitzindariak (historia)

Dragon frame softwarea erabiltzen ikasten

Eta aurreko ariketen digitalizazioa. Analisia.



3.- Aldibereko mugimendua

Giltzak, mugimenduaren mugarriak

Timming-a

Ariketa analitikoaren planteamentua: Egurrezko piezak.



4.- Amerikar Cartton-a, UPA eta Zagreb(H)

Fotogramaz fotograma Premièren egindako edizioaren gora beherak. Eskola praktikoa.

Animaziorako Photoshopa erabiltzen.Lantegi lana





5.- Argitalpen-klase praktikoa fotogramaz fotograma. Animaziorako Première erabiltzea. Fitxen ariketa digitalizatzea eta editatzea. Analisia.

Laugarren ariketa analitikoaren planteamendua, ura.



6.- Irakaslearen ariketa eta gainbegiratzea tailerrean lantzea

Europako animazioa (h) Irakaslearen ariketa eta gainbegiratzea tailerrean lantzea

Europako animazioa (h)



7.- Irudikapen-erritmoa eta filmazio-erritmoa (t)

Uraren ariketa digitalizatzeko eta editatzeko tekniken estetikoak. Analisia.

Bosgarren ariketaren planteamendua. Errotoskopia



8.- Animazio-tekniken bidezko bidaia: harea, 2D plastilina, ebakinak, kristal gaineko olio-pintura.

Dragoi framearen erabilera (t) Egindako errotoskopia-lanaren azalpena. Hurrengo eta seigarren ariketen planteamendua: animatu kamera azpian.



9.- Animazio-tekniken bidezko bidaia: kamerarik gabeko animazioa, soinu margotua, Musika bisuala. Egindako kamerapeko lanaren erakusketa. Kamerarik gabeko animazio-tailerra: zeluloide margotua, eskaneatua eta edizioa



10.- Animazio-tekniken bidezko bidaia: marrazketa bereziko teknikak, pikapika) Egindako zeluloide-lanaren erakusketa. Pika pika tailerra



11.- Teknika berriak arakatuz: eskanerraren eta beste periferiko batzuen sormenezko erabilera

Egindako pika pika lanaren erakusketa. Animazio-tailerra eskanerrarekin eta hainbat material organikorekin



12.- Animazio-tekniken bidezko bidaia: objektuak, panpinak, plastilina eta 3D

Azken lanaren planteamendua.

Metodologia pertsonal batera hurbiltzea. Teknikak eta materialak hautatzea. Beharren zerrenda



13.- animazioko maisu handiak (h) Amaierako proiektuari buruzko lana eta aholkularitza

Animazioko 14 maisu handi (h) Amaierako proiektuari buruzko lana eta aholkularitza



15 .-Azken lanak aurkeztea Azken lanak aurkeztea



(H) Historia

(T) Teoria eta estetika























SCHEDULE



1.-THEORETICAL PART PRACTICAL PART (WORKSHOP)

Presentation. Materials, evaluation

The movement (T)

The perception of movement

Approach to the first exercise

Analytical, the folio



2.- Rhythm in movement

Cadence, harmony. (T)

Pioneers of animation (H) Digitization of the page. Analysis.

Approach to the second analytical exercise, the ball



3.- Simultaneous movement

Use of keys

Timing for animation (T) Digitization of the ball. Analysis.

Approach to the third analytical exercise, the cards.



4.- American Cartton, The UPA and Zagreb (H)

Practical class of frame-by-frame editing. Using Photoshop for animation

Work in exercise workshop and teacher supervision



5.- Practical class of frame-by-frame editing. Using Première for animation. Digitization and edition of the card exercise. Analysis.

Approach to the fourth analytical exercise, water.



6.- Work in exercise workshop and teacher supervision

European Animation (H) Work in exercise workshop and supervision of the teacher

European Animation (H)



7.- Rhythm of representation and rhythm of filming (T)

Aesthetics of the various techniques Digitization and editing of the water exercise. Analysis.

Approach to the fifth exercise. Rotoscopy



8.- Journey through animation techniques: sand, 2D modeling clay, cutouts, oil on glass.

Use of Dragon Frame (T) Presentation of the rotoscopy work carried out. Approach to the next and sixth exercise: cheer on camera.



9.- Journey through animation techniques: cameraless animation, painted sound, visual music Exhibition of the work done under camera. Cameraless animation workshop: Celluloid painted, scanned and edited



10.- Journey through animation techniques: special drawing techniques, pikapika ... Exhibition of the celluloid work carried out. Pika Pika workshop



11.- Inventing new techniques: creative use of the scanner and other peripherals

Exhibition of the work of Pika pika carried out. Animation workshop with the scanner and various organic materials



12.- Journey through animation techniques: Objects, dolls, modeling clay and 3D

Final work approach.

Approach to a personal methodology. Selection of techniques and materials. List of needs



13.- Great masters of animation (H) Work and advice on the final project

14.- Great masters of animation (H) Work and advice on the final project

15.-Presentation of final works Presentation of final works



(H) History

(T) Theory and aesthetics

IRAKASKUNTZA METODOA



Irakaskuntzaren 15 asteetan gai pratikoak zein teorikoak erabiliko ditugu, alde batetik animazioaren estetikari dagokion informazioaz jabetu eta baita bere historiaren zehar ibilbide bat egin, baina gure ardura nagusia mugimentuaren errepresentazioaren giltzak ikastea da, modu praktikoan, izango da beti ere.

Artegintzaren eta zinemagintzaren barruan oso arlo autonomoa izanik, ikaleak oso informazio orokor eta soslaiatua izaten du, eta hau dela eta gaia bere orokortasunean ikasi behar dugu, lanabes praktiko zein teorikoak erabiliz, bideo bisionatuak eta hauen kritikak, ariketa analitiko zein bestelakoak, herrialdez sailkatutako lanak, maisu handien obrak eta tekniken araberako pelikulak, zaharrenetatik hasita eta gaur egundainokoak.



Animatzen edo mugimendua sortzen ere ikasiko dugu, eta hau oinarrizko 8/10 ariketen bitartez, zein bain zein konplexuagoak, gure geure mugak gainditzen saiatzeko, halaber, orria, pilota, fitxak eta ura, eta gero bestelako teknika zuzen eta zeharkakoen bitartez lan pertsonalagoei ekingo diegu, ikasle bakoitzarentzet animazioak zein erabilara duen deskubritzeko. Ildo honetatik abiatuta ikaslea saiatzen dugu esparru pertsonalago batera hurbiltzen eta ondorioz azken lana sortuko du, non ikasitakoa islatuko duen.



Gehienetan ikasleen azken lan hauek parte hartzen dute ikasleentzako deialdietan







TEACHING METHOD



During the 15 weeks we will deal with animation topics from both the theoretical and practical points of view, since we must deal with information on the theory and aesthetics of animation in addition to learning about its its history. Animation is a very autonomous area within cinema as it is within art, and in general students have little information on it, so we will approach them through thematic viewings, such as the history of animation by country or by technical families, from the most ancient to the contemporary.



In the practical part of the class, which is taught parallel to the theoretical one, we begin by learning the rudiments of the representation of movement, the basic concepts and tools, through 4 analytical exercises that successively add complexity and also difficulty. At a later stage, we propose four other somewhat more personal exercises, to be carried out with one of the many direct techniques that we have seen in the classes, and whose purpose would be bringing the student closer to a more personal creation space, which takes shape in the last personal work, to be done with the technique and methodology that the student chooses from all those that have been practiced previously. Usually these latest works participate in some of the student competitions there are.

• Azken Ebaluazioaren Sistema
• Kalifikazioko tresnak eta ehunekoak:
  • Praktikak egitea (ariketak, kasuak edo buruketak) (%): 50
  • Banakako lanak (%): 25
  • alde lanak (arazoen ebazpenak, proiektuen diseinuak) (%): 15
  • Lanen, irakurketen... aurkezpena (%): 10

Ebaluazio sistema bat dator irakaskuntza metodologiarekin, ikasleak planteatutako ariketak egin ahala, baloratu baitakizkioke, banaka zein taldeka eginda badaude ere.



Covid19ak gure eskoletan aldaketak sortzen baditu, ariketa pertsonal bakar batean oinarrituko da ebaluazioa



Ebaluatzeko elementuak:

Ariketa eta proiektu pertsonal zein taldekoak dira ebaluatzeko erabiliko ditugun elementuak, hauen barruan lan pertsonal finala garrantzitsuena bada ere.



Eskoletara etortzea eta parte hartzeak oso garrantzia handia izango du azken balorazioan, eta baita lanak garaiz entregatzea zein taldekideekin kolaborazioz lan egitea ere bai.



Ebaluazio-sistemari uko egitea



Ikasleek amaierako ebaluazio-sistemaren bidez ebaluatzeko eskubidea izango dute. Horretarako, ebaluazio jarraituaren sistemari uko egiten diola aurkeztu beharko du idatziz, eta horretarako 9 asteko epea izango du lauhileko irakasgaietarako, eta 18 astekoa urteko irakasgaietarako, lauhilekoaren edo ikasturtearen hasieratik zenbatzen hasita.



Ikaslearen eskubidea da azken azterketa baten bitartez ebaluatua izatea. Kasu honetan, azterketa beraren aurretik eskatutako ariketa guztiak aurkeztu beharko ditu ere, eta kondizio hau bete ezean ezin izango zaio ebaluatu. Delako azterketa horretan, bestalde, asignaturan eskatzen diren gaitasun guztien jabe dela demostratu beharko du.



Era berean, azken azterketa egiteko eskubidea izango du ebaluazio jarraitua egiteko baldintzak betetzen ez dituen ikasleak ere, halaber gutxieneko asistentzia edota eskatutako lanak eman ez dituen ikaslea, edo ariketa hauen emaitza nahikoa ez deneko kasuetan ere. Kasu honetan ikasleak gaiaren gaineko gaitasunak demostratu beharko ditu azken azterketa horretan.









The evaluation system is the proper one to the teaching methodology, and so, as the student carries out the proposed exercises, whether individually or in groups, they will be evaluated.



If Covid19 produces changes in the course

, the evaluation will be based on a single personal exercise



The elements that we will use to evaluate are both personal and group exercises and projects, although within them the final personal work is the most important.



Attendance and participation in classes will be very important in the final assessment, as well as the early delivery of assignments and collaboration with group members.



Waiving the call.



To waive the call, students will have to submit the waiver in writing to the teacher responsible for the subject one month before the official exam date of the subject.



Waiver of the evaluation system



Students will have the right to be evaluated through the final evaluation system. To do this, you must submit in writing the waiver of the continuous evaluation system and you will have a period of 9 weeks for the quarterly subjects and 18 weeks for the annual ones, starting from the beginning of the semester or course respectively.

Ebaluazio-sistemari uko egitea



Ikasleek amaierako ebaluazio-sistemaren bidez ebaluatzeko eskubidea izango dute. Horretarako, ebaluazio jarraituaren sistemari uko egiten diola aurkeztu beharko du idatziz, eta horretarako 9 asteko epea izango du lauhileko irakasgaietarako, eta 18 astekoa urteko irakasgaietarako, lauhilekoaren edo ikasturtearen hasieratik zenbatzen hasita.



Ikaslearen eskubidea da azken azterketa baten bitartez ebaluatua izatea. Kasu honetan, azterketa beraren aurretik eskatutako ariketa guztiak aurkeztu beharko ditu ere, eta kondizio hau bete ezean ezin izango zaio ebaluatu. Delako azterketa horretan, bestalde, asignaturan eskatzen diren gaitasun guztien jabe dela demostratu beharko du.



Era berean, azken azterketa egiteko eskubidea izango du ebaluazio jarraitua egiteko baldintzak betetzen ez dituen ikasleak ere, halaber gutxieneko asistentzia edota eskatutako lanak eman ez dituen ikaslea, edo ariketa hauen emaitza nahikoa ez deneko kasuetan ere. Kasu honetan ikasleak gaiaren gaineko gaitasunak demostratu beharko ditu azken azterketa horretan.



Waiving the call.



To waive the call, students will have to submit the waiver in writing to the teacher responsible for the subject one month before the official exam date of the subject.



Waiver of the evaluation system



Students will have the right to be evaluated through the final evaluation system. To do this, you must submit in writing the waiver of the continuous evaluation system and you will have a period of 9 weeks for the quarterly subjects and 18 weeks for the annual ones, starting from the beginning of the semester or course respectively.

MATERIAL BEHARREZKOAK

Gehienetan, erabiliko ditugun materialak irakasleak berak ekarriko ditu gelara. Hala ere, komeni da zenbait hasierako ariketetarako gramo gutxiko DIN A 4 tamainako paper zuria izatea eta marrazketarako oinarrizko materiala ekartzea.

Aurrerantzean eta beste teknikak erabiltzen hasten garenean, grabazio digitalerako beharko dugun materiala, kamerak eta softwarea barne, eskolan bertan izango dugu eta irudiaren grafismorako material fungiblea irakasleak berak ekarriko du.





MANDATORY USE MATERIALS
In the first part of the course we will be learning animation through a series of analytical exercises, so we will need either a drawing tablet or some special paper the student will be able to purchase at the school. Later on, the materials to be used in the subject will be the necessary ones for the subsequent development of each one of the exercises, such as objects for stop motion animation, 2D animation in different graphic methods, appropriate free software, cameras and other materials for digitizing images, that our school will provide or help the student get.

Oinarrizko bibliografia

Bonet, Eugeni Cinema Experimental, IUA, 1994

Estudio exhaustivo sobre la animación experimental y el cine abstracto



Halas, John "The contemporary animator", Focal Press, London, 1990

Iniciación a las técnicas de la animación, tanto tradicionales como digitales, por uno de los grandes animadores europeos





Le Grice, Malcolm "Experimental Cinema in the Digital Age", British Film Institute, 2001

Colección de escritos de un histórico del cine experimental alrededor del cine, el vídeo, el GOMENDATUTAKO BIBLIOGRAFIA / RECOMENDED BIBLIOGRAPHY

THE MYTH OF PERSISTENCE OF VISION REVISITED By Joseph and Barbara Anderson

https://faculty.uca.edu/wsmeador/ccsmi/ccsmi/classicwork/Myth%20Revisited.htm



Animating Film Theory by Karen Beckman, Editor Duke University Press, Durham, NC, 2014

https://uobrep.openrepository.com/bitstream/handle/10547/622719/AnimatingFilmTheory_Review.pdf;jsessionid=BFECE3E1005F906D7A0420D9045F6F09?sequence=2



-Bakedano, José Julián. NORMAN MCLAREN OBRA COMPLETA 1932-1985. Edit. Museo de Bellas Artes de Bilbao. 1987.

-Bendazzi, Giannalberto. Cartoons. Le cinéma dánimation, 1892-1992. Liana Levi, 1991.

-Bendazzi, Giannalberto. Definir la animación – Una Propuesta. 2004.

-Cook, Benjamin; Thomas, Gary. The animate! Book: rethinking animation. LUX. 2006

-Crafton, Donald. Before Mickey. 1898 – 1928. University of Chicago Press Edition 1993.

-De la Rosa, Emilio. “Cine de animación en España”, cap. 29 en CARTOONS. 110 años de cine de animación. OCHO Y MEDIO. 2003.

-Faber, Liz; Walters Helen. ANIMACION ILIMITADA. Cortometrajes innovadores desde 1940. OCHO Y MEDIO. 2004.

-Furniss, Maureen. Art in Motion. Animation Aesthetics. John Libbey Publishing, 2007.

-Keefer, Cindy; Guldemod, Jaap. Oskar Fischinger 1900 – 1967. Experiments in Cinematic Abstraction. Thames & Hudson. 2013.

-Reynaud, Paul. ÉMILE REYNAUD. Peintre de Films. Cinémathèque Franҫaise. 1945.

-Russet, Robert; Starr Cecile. EXPERIMENTAL ANIMATION. Origins of a New Art. Da Capo Press, Inc. 1988.

-Selby, Andrew. Animación - Nuevos proyectos y procesos creativos. Parramón Ediciones, S.A. 2009.

-Rondolino, Gianni. Storia del cinema d'animazione. Giulio Einaudi editore.1974.

-Sifianos, George. Esthétique du cinema dánimation. Editions Cerf – Corlet, 2012.

-Tjitte de Vries. They Thought It Was a Marvel": Arthur Melbourne-Cooper (1874-1961), Pioneer of Puppet Animation. Pallas Publications, 2009.

-Wiedemann, Julius. ANIMATION NOW!. Taschen. 2007

-Whitney, John. Digital Harmony. On the Complementarity of Music and Visual Art. Mcgraw – Hill. Inc. 1980.

-Wells, Paul. Understanding Animation. Routledge. 1988.

-Wells, Paul. The Fundamentals of Animation. AVA Publishing. 2006.

-Zinman, Gregory. Making Images Move: Handmade Cinema and the Other Arts. University of California Press. 2020.



Animating Film Theory by Karen Beckman, Editor Duke University Press, Durham, NC, 2014

https://uobrep.openrepository.com/bitstream/handle/10547/622719/AnimatingFilmTheory_Review.pdf;jsessionid=BFECE3E1005F906D7A0420D9045F6F09?sequence=2



EL ANIMADOR COMO ARTISTA, EL ARTISTA COMO ANIMADOR. UNA RECAPITULACIÓN Alan Cholodenko The University of Sydney (Australia)

https://riunet.upv.es/bitstream/handle/10251/139885/Cholodenko%20-%20The%20animator%20as%20artist,%20the%20artist%20as%20animator.pdf?sequence=1



Historia del Cine Experimental Jean Mitry Páginas 93 a 120

https://es.scribd.com/doc/97954028/MITRY-Cine-experimental-pags-93-a-120-Film-abstracto-y-musica-visual



Animating Film Theory by Karen Beckman, Editor Duke University Press, Durham, NC, 2014

https://uobrep.openrepository.com/bitstream/handle/10547/622719/AnimatingFilmTheory_Review.pdf;jsessionid=BFECE3E1005F906D7A0420D9045F6F09?sequence=2

Gehiago sakontzeko bibliografia

Bonet, Eugeni Cinema Experimental, IUA, 1994
Estudio exhaustivo sobre la animación experimental y el cine abstracto

Halas, John "The contemporary animator", Focal Press, London, 1990
Iniciación a las técnicas de la animación, tanto tradicionales como digitales, por uno de los grandes animadores europeos


Le Grice, Malcolm "Experimental Cinema in the Digital Age", British Film Institute, 2001
Colección de escritos de un histórico del cine experimental alrededor del cine, el vídeo, el arte y el medio digital

Rees, A. L. "A History of Experimental Film and Video", British Film Institute, 1999
Panorama històrico del audiovisual experimental desde las vanguardias pictóricas hasta los creadores de finales del siglo XX

Russett, Robert & Starr, Cecile "Experimental Animation. Origins of a new art", Litton Educational Publishing, 1976
Aproximación al cine abstracto o experimental, desde los pioneros hasta los creadores de los años setenta
-Animation now!, VV.AA. (Taschen -2004) incluye un dvd
-Animación, Gabriele Lucci (Editorial Electa -2005)
-El cine de animación, Pedro E. Delgado (Ediciones JC -2000)
-Arte y técnica de los dibujos animados, José Mª Candel (Cdad Autónoma de Murcia, Cajamurcia - 2005)
-Todo empezó con un ratón, el fantástico mundo de los cortos Disney, Jorge Fonte (T&B editores - 2004)
-Técnicas de animación, Chris Webster (Anaya, 2005)
-El gran libro del manga, Alfons Moliné (Glénat, 2002)
-Películas clave del cine de animación, Jordi Costa (Ma non troppo, 2010)

Aldizkariak

THE MYTH OF PERSISTENCE OF VISION REVISITED By Joseph and Barbara Anderson
https://faculty.uca.edu/wsmeador/ccsmi/ccsmi/classicwork/Myth%20Revisited.htm

ALAN CHOLODENKO – THE EXPANDING UNIVERSE OF ANIMATION (STUDIES)
https://journal.animationstudies.org/alan-cholodenko-the-expanding-universe-of-animation-studies/


ANIMACIÓN, EL MEDIO CONTAMINADO.DIBUJO, PINTURA Y CINE.Sara Álvarez Sarrat
https://docplayer.es/74790033-Animacion-el-medio-contaminado-dibujo-pintura-y-cine.html

ADRIANA NAVARRO-ÁLVAREZ – KIJÉ: THE LONG PATH OF A CO-PRODUCED ANIMATED SHORT FILM
https://journal.animationstudies.org/category/volume-14/adriana-navarro-kije-the-long-path-of-a-co-produced-animated-short-film/

EL LENGUAJE DE ANIMACIÓN COMO HERRAMIENTA POÉTICA PARA MITIFICAR LA HISTORIA DE EVA PERÓN Jimena C. Trombettta
https://revistas.uma.es/index.php/fotocinema/article/view/3605/3366

Several articles on experimental animation
http://www.centerforvisualmusic.org/Library.html#experimental

Web helbideak

WEBGUNEAK / WEBSITES

Experimental animation
http://www.iotacenter.org/
http://www.centerforvisualmusic.org/
http://www.edgeofframe.co.uk/
https://expcinema.org/site/en/dvd/animatetv-20-years-experimental-animation-uk

Animation World Network and magazine
https://www.awn.com/
https://www.awn.com/animationworld

BFI
http://www.screenonline.org.uk/film/id/445505/index.html

National Film Board Canada
http://www.nfb.ca/

Panpinen animazioarako aldizkaria
http://www.stopmotionmagazine.com/StopMotionMagazine/Home.html
Lehengo zenbakiak bajatu ahal dira

Panpinak egiteko tutorialak
http://www.stopmotionmagazine.com/StopMotionMagazine/Tutorials.html

Journal for animation Studies
https://journal.animationstudies.org/